Editor? Editor?

The last few weeks have offered some stellar coverage of Joan Didion’s Blue Nights — read Mary-Kay Wilmers, read Cathleen Schine, read Matthew Specktor, read the Didion interviews by Emma Brockes and Boris Kachka — but then, to spoil the party, there’s the coverage of the book in Australia, and particularly the review by Andrew Riemer in Saturday’s Sydney Morning Herald and The Age. These two Fairfax publications aspire to be the national papers of record, each one a snapshot of the best local analysis of current events and discourse, and Riemer, usually a reliably good essayist, is the Herald‘s chief book reviewer. Yet what Riemer has written, and what Fairfax has published, is a report of Blue Nights which is labelled as a review but which is so poorly written — so evasive, repetitive, and unspecific — that it leads me to suspect that Riemer hasn’t actually read the book he purports to review.

Here’s the review in question. It runs to 900 words. The first 300 words comprise a summary of Didion’s previous book, The Year of Magical Thinking, which is a precursor to Blue Nights. The next 150 words comprise a summary of the circumstances in which Didion published The Year of Magical Thinking, the difficult months following the death of her daughter Quintana, which now occupy the foreground of Blue Nights. At this halfway point of the review, however, Riemer still hasn’t mentioned Blue Nights itself: Quintana’s death is folded into his coverage of The Year of Magical Thinking. Only after 550 words does he mention that Blue Nights is “an account of the illness and death of Quintana” — that’s after he expresses moral misgivings about The Year of Magical Thinking and after he discusses its stage adaptation — and then, almost two-thirds of the way into his review, he devotes only one paragraph to a description and evaluation of the book he is reviewing. At 154 words, it makes up just seventeen per cent of the entire review:

Didion’s skill is as evident in her new book as it was six years ago when she was working on The Year of Magical Thinking. The form and style are identical. This account of Quintana’s death, coming as it did at a time when Dunne’s sudden death was still raw and immediate, is surrounded by Didion’s memories: her marriage; the years during which the couple worked on screenplays; Quin-tana’s childhood; the fate of relatives, friends and their children. A few details glossed over in the earlier book are highlighted here, particularly the fact that Quintana was an adopted child — this is only hinted at in The Year of Magical Thinking. There is, in addition, a new note sounded here: the panic of old age, the suspicion that both body and mind are decaying, the awareness that the familiar life — the people you had known and loved — has come to an end.

In my experience with book reviews and book reports, there are three key flaws that suggest that a writer hasn’t actually read the book they’re writing about.

First: an absence of quotes from the book itself. Despite his remarks on “Didion’s skill” and on “[t]he form and style” of Blue Nights, Riemer does not use even one of his 900 words to quote Didion so that she might speak for herself, relying instead on paraphrasing and summarisation.

Second: a disproportionate focus on authorial biography and historical context, combined with a tendency towards contextual repetition, at the expense of a focus on the book. One-third of Riemer’s review of Blue Nights is a summary of The Year of Magical Thinking. One-third of the review is a summary of the context in which that book was published and adapted. Of the remaining one-third, half consists of the paragraph quoted above and half consists of Riemer’s repeated misgivings about Didion’s work combined with his repeated acknowledgement of her stylistic gifts. “[S]peaking here personally,” he writes, “I think the choice [to write publicly about the death of her husband John in The Year of Magical Thinking] was questionable.” “As I have said,” he continues, “Didion’s skill, sensitivity and intelligence go some way towards redeeming this book. … I cannot, however, banish my sense of uneasiness.” Didion is a brave and stylistically skillful writer but her choice of subject matter makes Riemer uneasy: he repeats this notion three times in his review. Whether the stirring of such uneasiness might be part of Didion’s aesthetic project in Blue Nights — whether she is carefully preying on some innate voyeurism in her readers in a way that calls attention to it — doesn’t seem to occur to Riemer, much less to add complexity to his existing moral misgivings.

Third: factual errors which suggest that the writer has relied on his or her memory of an event rather than consulting a record of it. Riemer, as quoted above, has this to say of the adoption of Quintana: “A few details glossed over in the earlier book are highlighted here, particularly the fact that Quintana was an adopted child — this is only hinted at in The Year of Magical Thinking.” Now here’s Didion “hint[ing] at” Quintana’s adoption, at the end of chapter ten of The Year of Magical Thinking, although I’d call it a lot more than just a hint:

In 1964 and 1965, when we were living in the gate house with the beach and the peacocks but could not afford even to tip the parking boys at restaurants, let alone eat in them, John and I used to park on the street on Canon and charge dinner at The Bistro. We took Quintana there on the day of her adoption, when she was not quite seven months old. They had given us Sidney Korshak’s corner banquette and placed her carrier on the table, a centrepiece. At the courthouse that morning she had been the only baby, even the only child; all the other adoptions that day had seemed to involve adults adopting one another for tax reasons.

Other flaws are added spice. Didion’s career as an esteemed essayist and political analyst falls by the wayside — you’d never know from Riemer’s review that she has written anything other than screenplays and The Year of Magical Thinking — and the last word goes not to Didion, nor even to anyone writing about Didion, but to Ludwig Wittgenstein, halfheartedly invoked. Riemer’s review of Blue Nights offers no sense of Blue Nights beyond the barest consideration of its subject and the fact that Riemer is unsettled by it. You won’t get a taste of Didion’s own words; you’ll only get an overlong survey of The Year of Magical Thinking and a factually erroneous one at that. The whole review smacks of the sense that this writer has written about a book that he has only read about, rather than a book that he has read directly and with care.

It’s possible that Riemer wrote something closer to 1,500 words before some senseless editor axed the better part of his review and ripped out a fistful of Didion quotes for good measure. For Riemer’s sake, I certainly hope that’s the case, not that the rest of us would be any better off. This sort of review does a disservice to everyone associated with it: Didion’s work isn’t given the respect of careful consideration, readers who may or may not turn to that work are not given any sense of it, Riemer looks a fool for attaching his name to something so underdeveloped, and the Sydney Morning Herald tarnishes its own prestige by pretending that this sort of writing deserves a place in a paper of record. Can’t Australia do better than this?

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4 thoughts on “Editor? Editor?”

I need to reread The Year of Magical Thinking and look forward to reading Blue Nights. However, I found Andrew Riemer’s article interesting to me as a doctor working in Intensive Care. The way of dying in the 21st century is often so medicalised; this applies to both Didion’s husband and daughter. She covers so many aspects of being the relative of a critically ill person. So I disagreed profoundly with Riemer’s suggestion that the books are too personal and voyeuristic. Literature reflects society and how society is evolving.
As a doctor, I found the description of John Dunn’s death as “sudden” surprising – he had had heart disease for years. But it is relevant for me to see things from the non-medical perspective. So wonderful writing and lessons for all.

Sam — this is a real excellent reeviw. Your impression of the book is much the same as mine was — I found it so moving, compelling — it was wrenching.And I agree that it would be a good book for people who have tried [or are trying] to make sense of the trauma of loss.Not because Didion makes sense of it [loss]. But because she so boldly shows that while making sense of it all is impossible, delineating the feelings [the experience] is still important…. maybe the only hope at anything therapeutic is to know of someone else’s struggle with sorrow. This is offered here in the book.

The reviewer has such an important role in the progress of a book through the process from publication to the eager hands of the reader it would be very disappointing if Andrew Riemer did “fudge” his review. As an ordinary punter removed from delightful city bookshops I rely on the integrity of the reviewer to steer my reading.

I had mixed emotions about the coetnnt, Bybee, but admired the writing. Didion seems to be a little bit of a cold person in this narrative but I have to wonder if she was that way only during the twelve months she writes about or not.